346 Dorothy Chansky New York Times obituary quoted the song verbatim to limn the woman whose chains Friedan sought to break as "happy to keep his dinner warm till he came wearily home from downtown."21 While it would be foolish to disregard the satirical purpose of How to Succeed,it would also be wrong to disregard the setup upon which it depended.Whether or not corporate America was rife for deflating because of its infrastructure based on image, fakery,opportunism,intimidation,acquiescence,and dumb luck,the infrastructure was gendered.When one of the musical's numbers admonishes the leering executives that "A Secretary Is Not a Toy,"it is skirt-chasing within-not the gross injustice of-a gen- dered division of labor that was being lampooned.Friedan's blockbuster book forever changed any hegemonic sense that such a setup was invisible,fair,or acceptable. Although How to Succeed seems at first glance like the logical place to start in con- sidering the intertwining of Friedan's second-wave feminist agenda with both theatre and "real life,"her most politically astute biographer offers insights that suggest starting earlier and elsewhere.Daniel Horowitz's Betty Friedan and the Making of the Feminine Mystique is subtitled,The American Left,the Cold War,and Modern Feminism. Horowitz's project is to show that Friedan's sensibilities and ideas about women's inequality,class inequality,and social justice did not spring full-blown in reaction to a mind-numbing routine of carpools and cookies in Westchester.Rather,by tracing the details of her college and pre-marriage careers,Horowitz demonstrates Friedan's long-standing involvement with and sophisticated understanding of activism.Not only did she study with progressive economist Dorothy Wolff Douglas at Smith(in a course that "emphasized labor history,utopian movements,and socialist thought"), but she also attended summer programs at the Highlander Folk School in Tennessee.2 Highlander's mission was to fight for social justice for African Americans and women; among other activities,Friedan participated in a writers'workshop where the genres covered for imparting effective documentary information included drama.After leaving graduate school,Friedan worked as a labor journalist for nine years,first for the Feder- ated Press(a left-wing news service,in a position she got because of her Highlander background)and then for UE News,"the official publication of the United Electrical, Radio,and Machine Workers of America,a radical union in the forefront of the fight for social justice for African American and women workers."23 Why not,then,trace Betty Friedan's legacy retroactively to Pajama Game,the 1954 musical in which a union activist at a factory falls in love with a new supervisor and manages to get both the man and the salary increase?This show,like How to Succeed, was a major hit,running for 1,063 performances and winning the 1955 Tony for Best Musical,as well as the 2006 Tony for Best Revival of a Musical.A revised trajectory in theatre as a feminist tool would begin with what Friedan advocated rather than what she deplored.Ben Brantley's review of the 2006 Broadway revival describes it as"a bona fidc adult love affair,with all its attendant frictions,translated into the populist poetry of hummable songs."All these features-adultness foremost-emerge in the song"7 Cents,in which the workers figure out what they can do with the raise for 21 Margalit Fox,"Betty Friedan,Who Ignited Cause in 'Feminine Mystique,'Dies at 85,"New York Times,5 February 2006. 2 Horowitz,Betty Friedan,52 23bid,121. This content downloaded from 183.195.251.166 on Sat,16 Jan 2016 12:04:58 UTC All use subject to JSTOR Terms and Conditions346 / Dorothy Chansky New York Times obituary quoted the song verbatim to limn the woman whose chains Friedan sought to break as "happy to keep his dinner warm till he came wearily home from downtown."21 While it would be foolish to disregard the satirical purpose of How to Succeed, it would also be wrong to disregard the setup upon which it depended. Whether or not corporate America was rife for deflating because of its infrastructure based on image, fakery, opportunism, intimidation, acquiescence, and dumb luck, the infrastructure was gendered. When one of the musical's numbers admonishes the leering executives that "A Secretary Is Not a Toy," it is skirt-chasing within - not the gross injustice of - a gen￾dered division of labor that was being lampooned. Friedan's blockbuster book forever changed any hegemonic sense that such a setup was invisible, fair, or acceptable. Although How to Succeed seems at first glance like the logical place to start in con￾sidering the intertwining of Friedan's second- wave feminist agenda with both theatre and "real life," her most politically astute biographer offers insights that suggest starting earlier and elsewhere. Daniel Horowitz's Betty Friedan and the Making of the Feminine Mystique is subtitled, The American Left, the Cold War, and Modern Feminism. Horowitz's project is to show that Friedan's sensibilities and ideas about women's inequality, class inequality, and social justice did not spring full-blown in reaction to a mind-numbing routine of carpools and cookies in Westchester. Rather, by tracing the details of her college and pre-marriage careers, Horowitz demonstrates Friedan's long-standing involvement with and sophisticated understanding of activism. Not only did she study with progressive economist Dorothy Wolff Douglas at Smith (in a course that "emphasized labor history, Utopian movements, and socialist thought"), but she also attended summer programs at the Highlander Folk School in Tennessee.22 Highlander's mission was to fight for social justice for African Americans and women; among other activities, Friedan participated in a writers' workshop where the genres covered for imparting effective documentary information included drama. After leaving graduate school, Friedan worked as a labor journalist for nine years, first for the Feder￾ated Press (a left-wing news service, in a position she got because of her Highlander background) and then for UE News, "the official publication of the United Electrical, Radio, and Machine Workers of America, a radical union in the forefront of the fight for social justice for African American and women workers."23 Why not, then, trace Betty Friedan's legacy retroactively to Pajama Game, the 1954 musical in which a union activist at a factory falls in love with a new supervisor and manages to get both the man and the salary increase? This show, like How to Succeed, was a major hit, running for 1,063 performances and winning the 1955 Tony for Best Musical, as well as the 2006 Tony for Best Revival of a Musical. A revised trajectory in theatre as a feminist tool would begin with what Friedan advocated rather than what she deplored. Ben Brantley's review of the 2006 Broadway revival describes it as "a bona fide adult love affair, with all its attendant frictions, translated into the populist poetry of hummable songs." All these features - adultness foremost - emerge in the song "7Vi Cents," in which the workers figure out what they can do with the raise for 21 Margalit Fox, "Betty Friedan, Who Ignited Cause in 'Feminine Mystique/ Dies at 85," New York Times, 5 February 2006. 22 Horowitz, Betty Friedan, 52. 23 Ibid., 121. This content downloaded from 183.195.251.166 on Sat, 16 Jan 2016 12:04:58 UTC All use subject to JSTOR Terms and Conditions